Hostname: page-component-586b7cd67f-gb8f7 Total loading time: 0 Render date: 2024-11-22T22:40:49.004Z Has data issue: false hasContentIssue false

Don Juan and the Nymph: Caricature and Theory of the Image in Diana o la cazadora solitaria

Published online by Cambridge University Press:  23 October 2020

Extract

A barbed article by Rafael Lemus on Carlos Fuentes and his work appeared in Letras libres in November 2006. The article offers a fierce critique, but, as Lemus often does, he sees what others do not. His most penetrating remarks about Fuentes, in my view, are the ones that address caricature and, with it, specific work on the image. Thus, “Fuentes returns to his themes and resources, which are classical, and in an effort to sum them up, he caricatures them.” His recent stories “have something anachronistic about them,” and his way of dealing with reality “no longer produces anything but cadavers.”

Type
Theories and Methodologies
Copyright
Copyright © 2013 by The Modern Language Association of America

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Works Cited

Autobiografías, la tentación de explicarse a sí mismo.” Babel, revista de libros Feb. 1989: 22-28. Print.Google Scholar
Beaujour, Michel. Poetics of the Literary Self-Portrait. Trans. Milos, Yara. New York: New York UP, 1991. Print.Google Scholar
Buck-Morss, Susan. The Dialectics of Seeing: Walter Benjamin and the Arcades Project. Cambridge: MIT P, 1989. Print.Google Scholar
Didi-Huberman, Georges. L'image survivante. Histoire de l'art et temps des fantômes selon Aby Warburg. Paris: Minuit, 2002. Print.Google Scholar
Doubrovsky, Serge. Fils. Paris: Gallimard, 1977. Print.Google Scholar
Fuentes, Carlos. Diana o la cazadora solitaria. Madrid: Alfaguara, 1994. Print.Google Scholar
Fuentes, Carlos. Diana: The Goddess Who Hunts Alone. Trans. Adam, Alfred Mac. New York: Perennial-Harper, 1996. Print.Google Scholar
Lacan, Jacques. On Feminine Sexuality: The Limits of Love and Knowledge: Encore, 1972-1973. Ed. Miller, Jacques-Alain. Trans. and notes by Bruce Fink. New York: Norton, 1998. Print. Bk. 20 of The Seminar of Jacques Lacan.Google Scholar
Lemus, Rafael. Rev. of Todas las familias felices, by Carlos Fuentes. Letras libres. Vuelta, Nov. 2006. Web. 15 Sept. 2011.Google Scholar
Piñón, Alida. “Carreño y sus dibujos, a la conquista de París.” El universal. Universal, 5 May 2011. Web. 27 June 2013.Google Scholar
Pitcher McDonough, Sarah. How to Read Autofiction. BA thesis, Wesleyan U, 2011. WesScholar. Web. 16 June 2013.Google Scholar
Rodríguez Carranza, Luz. Un teatro de la memoria. Análisis de Terra nostra, de Carlos Fuentes. Leuven: Leuven UP; Buenos Aires: Danilo Albero Vergara, 1991. Print.Google Scholar
Rodríguez Carranza, Luz. “Vidas sin historias. Para una semiótica del autorretrato literario.” Revista crítica cultural 2.1 (2007): n. pag. Web. 17 Jan. 2013.Google Scholar
Sarlo, Beatriz. Tiempo pasado. Cultura de la memoria y giro subjetivo. Buenos Aires: Siglo XXI, 2005. Print.Google Scholar
Warburg, Aby. Essais florentins. Paris: Klincksieck, 1990. Print.Google Scholar